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Published 23/12/02
Versace at the V&A
A Retrospective of Gianni Versace (1946-97)
17 October 2002-12 January 2003
'Versace at the V&A' is the largest exhibition
that the Victoria and Albert Museum, in London, has ever dedicated
to one fashion designer. This massive retrospective will show Gianni
Versace's unique flair for fashion and his great quest for beauty
through revolutionary new techniques in textile design.
The curator of the exhibition is Claire Wilcox, a curator in the
V&A's Fashion and Textile Department, with special responsibility
for 20th century and Contemporary dress collections. Claire Wilcox,
Valerie Mendes and Chiara Buss have written the catalogue that accompanies
the exhibition, 'The Art and Craft of Gianni Versace.' Versace's
work is seen in two complimentary perspectives: Art and Craft. The
book boasts a selection of nearly two hundred colour pictures and
has been published in paperback.
Clothes by Versace are renowned for being glamorous, glitzy and
often controversially brash. The man behind this hedonistic fashion
empire was the late Gianni Versace. The fashion entrepreneur was
born in Reggio di Calabria, a poor region of Italy. His mother was
a perfectionist dressmaker and inspired Gianni to go into fashion
design. The young Versace learnt his trade in London and Paris before
moving to Milan in the 1970s, where he launched his own women's
wear collection under the name, 'Gianni Versace Donna'.\
By 1979, Versace had begun work with the fashion photographer Richard
Avedon. This was the beginning of a long line of fashion campaigns
by Mr Avedon. 1982 was a major year for Gianni Versace that began
with the launch of his innovative 'Oroton' in his collection at
the Paris Opera. This metal mesh that Versace invented contradicted
all of the usual properties of metal. It could be used to make delicate,
shimmering evening dresses for women. It was also possible to colour
and pattern the revolutionary material, as Versace often did. It
could be used alone, or mixed with a variation of fabrics and patterns.
Unlikely combinations included Oroton with lace, chiffon, animal
skin and lace. The designer used Oroton to make slinky, figure-hugging
garments that would usually require the finest silks and most delicate
chiffon.
Although his revolutionary fashion design was at first criticised
by the Parisian Haute Couture scene, fashion's fickle nature was
soon shown when Versace's fame and recognition escalated. The industry
that had at first dismissed Gianni Versace's clothes as 'tarty'
and 'vulgar', in an attempt to salvage their obsession
with the traditional conformities of fashion, began to welcome Versace's
clothes and ideas. It became hip to be a flamboyant and passionate
woman rather than a conformist 'damsel in distress.' As
Elizabeth Hurley once said: 'Unlike many other designers, Versace
designs clothes to celebrate the female form rather than eliminate
it.' Gianni Versace had made this seductive, feisty new form
of feminism flamboyantly fashionable.
Throughout the nineties, Versace remained a key figure, not only
in international fashion, but also in glamour and fame internationally.
You see the Versace phenomenon was not only about beautiful collections
of couture clothes. A wealth of hedonistic and feminist values was
woven into the dazzling silk of a Versace dress. International glamour
and glitz were as important in the House of Versace as the shiniest
diamante; celebrities and Princesses were valued, in the creation
of an innovative collection, as much as one of Versace's dressmakers.
The ideas of fame and fortune were key ingredients in the fiery
cocktail that was The House of Versace.
Celebrities were, and are, quick to celebrate Mr Versace's fabulous
clothes. It seems to me that the most legendary artistes and celebrities
are all loyal ambassadors to Versace. Elizabeth Hurley (whose famous
safety-pin dress by Versace is on show at the V&A) shot to fame
when she appeared in 'that dress' with Hugh Grant to the
film premiere of 'Four Weddings and a Funeral.'
It is a distant relative of the black, slashed and safety-pinned
clothing of British punk and of the body-conscious black Lycra sheath
dresses of metropolitan disco and club life. While he accommodated
the principle of anti-establishment slashed clothing, there was
nothing untidy or raw-edged about this dress, and mundane safety
pins became gilt and silver kilt pins resplendent with diamantes
as well as Versace's Medusa-head emblem. The designer put his unique
stamp of glamour and audacity on this design, which has become a
landmark in the history of the little black dress.
The late Princess Diana expressed her independence and confidence
by wearing Versace to a photo-shoot by Patrick Demarchelier.
The gown has a simple shape but the pattern is boldly geometric,
with linear whorls and a dominant 'bow' motif that defined the hips.
The classic mixture of pale blue and gold perfectly complimented
the Princess's blonde and blue-eyed colouring
Supermodels such as Linda Evangelista, Naomi Campbell, Christy
Turlington and Cindy Crawford made their name by fronting a Versace
advertisement campaign in the early nineties. Other stars to celebrate
their celebrity status by wearing Versace garments have included
Elton John, Madonna and Joan Collins.
Gianni Versace oozed energy and glamour through his magnificent
creations as a fashion designer. He sparked and represented an era
that was enthusiastic to 'wear your dosh on your sleeve.'
Versace produced iconic dresses to compliment iconic people. He
scrapped conformity and thwarted flamboyance in favour of an open
celebration of fame, sexuality, glamour and glitz, with the help
of a few legendary celebrities and a flair for dressmaking. By the
late nineties, Haute Couture was glowing with glamour and glitz.
Mr Versace did not only work with high fashion though. Many of
his most beautiful creations were made for the stage. He designed
many fabulous costumes for ballets and operas. During the early
1980s, Gianni Versace created wonderful tutus for Strauss ballets
at La Scala. He proved that he was extremely versatile in his ability
to design delicate ballet costumes as well as brash, seductive cocktail
dresses. Some outfits that he designed for the stage were larger
than life and decorated with colourful appliqués and bold
patterns. They were really exaggerated versions of Versace's Haute
Couture pieces, and would often have an effect on clothes that he
designed for the catwalk.
Versace employed his ability as a colourist to create arresting
multicoloured as well as monochromatic costumes. Capable of subdued
moments, for Bejart's dance Souvenir de Leningrad he designed cream
on cream with touches of silver tutus: refined exercises in texture
achieved by skilful cutwork embroidery, pin tucks and scallops.
With short bouffant skirts and a jeune fille aura, tutus were translated
for the catwalk into sprightly dresses with tight bodices and very
short bell skirts over hooped petticoats.
This innocent style on the catwalks was in total contrast to the
glitzy and seductive clothes that Versace would usually produce.
Gianni Versace also contrasted a number of seemingly uncomplimentary
materials, patterns and colours. He would mix fabrics that had distinctly
masculine connotations, such as leather and chainmail, with very
feminine materials like satin, silk, lace and velvet. Leopard print
would be teamed with Versace's favourite 'Wild Baroque' design of
foliate volutes and architectonic roundels in simply designed dresses
for an explosive unity. Gianni Versace could make the most unlikely
combinations of pattern work wonderfully.
In a truly dramatic fashion, Gianni Versace died on the 15th
of July 1997 in Florida. He was shot on the doorstep of his Miami
mansion. The international glitterati mourned the death of this
self-made icon (possibly with the exception of a few success-hungry
junior designers and competitors, fashion is fickle after all) and
wondered if the world could ever be quite so glitzy again. Ambassadors
of brashness sighed a breath of relief when Gianni's younger sister,
Donatella, stepped into the Versace throne to ensure the glamorous
fashion house's survival. Madonna recently said, 'When I think
of the House of Versace, of course I think of clothes and glamour.
But more importantly, I think of the generosity that Donatella has
shown towards me and my family. If Gianni were alive today he would
be very proud of her'.
Donatella has successfully taken Versace into the 21st century,
where Versace dresses continue to appear, clad to made-up Hollywood
actresses, socialites and ambitious girlfriends, at glitzy film
premieres and countless award ceremonies. For as long as fame and
fortune are present in our hedonistic society, the House of Versace
will continue to stand strong.
'Versace at the V&A' is a fabulous tribute to a man
that has shaped couture forever. Each gold-studded sash and beaded
silk dress at the exhibition is representative of all the values
that Gianni Versace stood for: flamboyance, glamour, brashness and
a fabulous flair for making beautifully cut clothes. The way in
which the famous clothes are displayed makes the experience of seeing
the creations all the more inspiring. Dramatic music and valuable
film footage of past catwalk shows and Versace at work complimented
the showstopping outfits tremendously. I was overwhelmed by the
dresses that were indeed works of art and felt confident that Gianni
Versace was surely a fabulous artist. This exhibition, at such a
distinguished museum is proof that, in spite of fashion's fickle
nature, Versace will long be remembered as a couture label that
changed the rules of fashion forever.
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